ptu in C-sharp minor, opus 66.
Scherzo in B-flat minor, opus 31.
Nocturne in E-flat major, opus 9, No. 2.
Nocturne in G major, opus 37, No. 2.
Ballad in A-flat, opus 47.

PROGRAM III. (Still more difficult.)

Etudes: Opus 10, No. 1, C major.
No. 2, A minor.
No. 3, E major.
No. 4, C-sharp minor.
No. 5, G-flat (black key).
Ballad in A-flat, opus 47.
Romanza from First Concerto, in E minor. (Reinecke's arrangement or
with second piano.)
Impromptu in A-flat, opus 29.
Nocturne in D-flat, opus 27, No. 2.
Polonaise in A-flat, opus 53.

In order to fully understand the individuality and genius of Frederic
Francois Chopin (1809-1849) it would be necessary to study his work
from three standpoints. First, naturally, for what it is in and of
itself--the moods, the qualities of style, the peculiar individuality
of his musical thought; second, with reference to the modifications of
pianoforte style inaugurated by this gifted genius--modifications
which, while having their source in certain improvements of the
mechanism of the pianoforte made immediately before Chopin began to
write, would not have come so soon but for his genius and insight; and,
third, to study the relation of this master in his style of musical
ideas and working out, his fancy, his imagination, his representation
of many sides of human nature, to the music of the other composers of
the romantic school, and especially to that of Mendelssohn and
Schumann, whose compositions were produced contemporaneously with those
of Chopin. To cover all this ground is naturally impossible in one,
two, or even in several, chapters, wherefore I shall confine myself in
the present program to illustrating a few of the characteristic
individualities of Chopin and the essential features of his style.
There are difficulties in doing this adequately, arising from the fact
that as piano virtuoso, Chopin, when fully expressing himself, did so
without regard for the convenience of imperfectly-trained hands upon
the pianoforte. Hence the works of his which represent his genius at
its best are mostly too difficult for any but very accomplished players.

In recognition of this difficulty I have made three programs, each more
difficult than the preceding, from which the student may make his
choice, since the qualities are mainly the same in all, excepting that
his complete tre